Artículos relacionados a Diagrammatics of the Contemporary (Vol 0) (Undoing...
Sinopsis
This introductory volume to Eric Alliez and Jean-Claude Bonne's major work on contemporary art outlines their exploratory and speculative project: not so much to produce a new 'philosophy of art' as to enter into a space in-between philosophy and art: between a contemporary philosophy of contemporary art and an art contemporary with contemporary philosophy. Contemporary art seen in this doubled manner is not a question of a philosophical condition, but rather asks how we can make ourselves, philosophically, the contemporaries of works whose problematic nature no longer sits well under the categories of the 'aesthetic' inherited from romanticism.The multiplicity of essays proposed by Alliez and Bonne carry out a series of thought-experiments via particular, closely-studied contemporary artists and works, in order to produce an analysis that is both genealogical and archaeological. In a dynamic that moves through and beyond the work of Deleuze and Guattari, the task of 'undoing the aesthetic image of art' is understood as that of discovering a 'diagrammatic' regime, assemblage, or mode of thought at work in contemporary art. In these case-studies of an art-thought that is inseparable from the continued construction of the very concept of a 'contemporary art', philosophical analysis is continually displaced by the forces of works and practices of creation and reception that construct a new, processual and post-conceptual, configuration of art, with Matisse and Duchamp-Matisse-thought and Duchamp-thought-establishing a tension that, since the 1960s, has been 'recharged' by the micropolitical options which have given rise to the critical and clinical problematisation of art. 'Diagrammatics of the Contemporary' sets out the philosophical stakes and methodology of this remarkable series of studies, the itinerary of which will pass, via Matisse and Duchamp, through Daniel Buren, Gordon Matta-Clark, and Gunter Brus, with a particular focus on the singular case of Brazilian contemporary art, from Ernesto Neto to Helio Oititica.
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Reseña del editor
This introductory volume to Eric Alliez and Jean-Claude Bonne's major work on contemporary art outlines their exploratory and speculative project: not so much to produce a new 'philosophy of art' as to enter into a space in-between philosophy and art: between a contemporary philosophy of contemporary art and an art contemporary with contemporary philosophy. Contemporary art seen in this doubled manner is not a question of a philosophical condition, but rather asks how we can make ourselves, philosophically, the contemporaries of works whose problematic nature no longer sits well under the categories of the 'aesthetic' inherited from romanticism.The multiplicity of essays proposed by Alliez and Bonne carry out a series of thought-experiments via particular, closely-studied contemporary artists and works, in order to produce an analysis that is both genealogical and archaeological. In a dynamic that moves through and beyond the work of Deleuze and Guattari, the task of 'undoing the aesthetic image of art' is understood as that of discovering a 'diagrammatic' regime, assemblage, or mode of thought at work in contemporary art. In these case-studies of an art-thought that is inseparable from the continued construction of the very concept of a 'contemporary art', philosophical analysis is continually displaced by the forces of works and practices of creation and reception that construct a new, processual and post-conceptual, configuration of art, with Matisse and Duchamp-Matisse-thought and Duchamp-thought-establishing a tension that, since the 1960s, has been 'recharged' by the micropolitical options which have given rise to the critical and clinical problematisation of art. 'Diagrammatics of the Contemporary' sets out the philosophical stakes and methodology of this remarkable series of studies, the itinerary of which will pass, via Matisse and Duchamp, through Daniel Buren, Gordon Matta-Clark, and Gunter Brus, with a particular focus on the singular case of Brazilian contemporary art, from Ernesto Neto to Helio Oititica.
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